W. Somerset Maugham - The Razors Edge

[Maugham is] a great artist a genius.

Theodore Dreiser

[Maughams] excessively rare gift of story-telling is almost the equal of imagination itself.

The Sunday Times (London)

It is very difficult for a writer of my generation, if he is honest, to pretend indifference to the work of Somerset Maugham. He was always so entirely there.

Gore Vidal

Maugham remains the consummate craftsman.[His writing is] so compact, so economical, so closely motivated, so skillfully written, that it rivets attention from the first page to last.

Saturday Review of Literature

FIRST VINTAGE INTERNATIONAL EDITION, SEPTEMBER 2003

Copyright 1943, 1944 by McCall Corporation
Copyright 1944 by W. Somerset Maugham
Copyright renewed 1971, 1972 by Elizabeth Mary Lady Glendevon

All rights reserved under
International and Pan-American copyright conventions.
Published in the United States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto.
Originally published in hardcover in the United States by Doubleday, Doran & Company, Inc., New York, in 1944.

Vintage is a registered trademark and Vintage International and colophon are trademarks of Random House, Inc.

The Library of Congress has cataloged the Doubleday edition as follows:
Maugham, W. Somerset (William Somerset), 18741965.
The razors edge, a novel / W. Somerset Maugham.
New York: Doubleday, Doran and Co., Inc., 1944.
p. cm.
PR6025.A86 R3 1944

eISBN: 978-0-307-78508-4

www.vintagebooks.com

v3.1

I HAVE NEVER BEGUN a novel with more misgiving. If I call it a novel it is only because I dont know what else to call it. I have little story to tell and I end neither with a death nor a marriage. Death ends all things and so is the comprehensive conclusion of a story, but marriage finishes it very properly too and the sophisticated are ill-advised to sneer at what is by convention termed a happy ending. It is a sound instinct of the common people which persuades them that with this all that needs to be said is said. When male and female, after whatever vicissitudes you like, are at last brought together they have fulfilled their biological function and interest passes to the generation that is to come. But I leave my reader in the air. This book consists of my recollections of a man with whom I was thrown into close contact only at long intervals, and I have little knowledge of what happened to him in between. I suppose that by the exercise of invention I could fill the gaps plausibly enough and so make my narrative more coherent; but I have no wish to do that. I only want to set down what I know of my own knowledge.

Many years ago I wrote a novel called The Moon and Sixpence. In that I took a famous painter, Paul Gauguin, and, using the novelists privilege, devised a number of incidents to illustrate the character I had created on the suggestions afforded me by the scanty facts I knew about the French artist. In the present book I have attempted to do nothing of the kind. I have invented nothing. To save embarrassment to people still living I have given to the persons who play a part in this story names of my own contriving, and I have in other ways taken pains to make sure that no one should recognize them. The man I am writing about is not famous. It may be that he never will be. It may be that when his life at last comes to an end he will leave no more trace of his sojourn on earth than a stone thrown into a river leaves on the surface of the water. Then my book, if it is read at all, will be read only for what intrinsic interest it may possess. But it may be that the way of life that he has chosen for himself and the peculiar strength and sweetness of his character may have an ever-growing influence over his fellow men so that, long after his death perhaps, it may be realized that there lived in this age a very remarkable creature. Then it will be quite clear of whom I write in this book and those who want to know at least a little about his early life may find in it something to their purpose. I think my book, within its acknowledged limitations, will be a useful source of information to my friends biographers.

I do not pretend that the conversations I have recorded can be regarded as verbatim reports. I never kept notes of what was said on this or the other occasion, but I have a good memory for what concerns me, and though I have put these conversations in my own words they faithfully represent, I believe, what was said. I remarked a little while back that I have invented nothing; I want now to modify that statement. I have taken the liberty that historians have taken from the time of Herodotus to put into the mouths of the persons of my narrative speeches that I did not myself hear and could not possibly have heard. I have done this for the same reasons as the historians have, to give liveliness and verisimilitude to scenes that would have been ineffective if they had been merely recounted. I want to be read and I think I am justified in doing what I can to make my book readable. The intelligent reader will easily see for himself where I have used this artifice, and he is at perfect liberty to reject it.

Another reason that has caused me to embark upon this work with apprehension is that the persons I have chiefly to deal with are American. It is very difficult to know people and I dont think one can ever really know any but ones own countrymen. For men and women are not only themselves; they are also the region in which they were born, the city apartment or the farm in which they learnt to walk, the games they played as children, the old wives tales they overheard, the food they ate, the schools they attended, the sports they followed, the poets they read, and the God they believed in. It is all these things that have made them what they are, and these are the things that you cant come to know by hearsay, you can only know them if you have lived them. You can only know them if you are them. And because you cannot know persons of a nation foreign to you except from observation, it is difficult to give them credibility in the pages of a book. Even so subtle and careful an observer as Henry James, though he lived in England for forty years, never managed to create an Englishman who was through and through English. For my part, except in a few short stories, I have never attempted to deal with any but my own countrymen, and if I have ventured to do otherwise in short stories it is because in them you can treat your characters more summarily. You give the reader broad indications and leave him to fill in the details. It may be asked why, if I turned Paul Gauguin into an Englishman, I could not do the same with the persons of this book. The answer is simple: I couldnt. They would not then have been the people they are. I do not pretend that they are American as Americans see themselves; they are American seen through an English eye. I have not attempted to reproduce the peculiarities of their speech. The mess English writers make when they try to do this is only equalled by the mess American writers make when they try to reproduce English as spoken in England. Slang is the great pitfall. Henry James in his English stories made constant use of it, but never quite as the English do, so that instead of getting the colloquial effect he was after, it too often gives the English reader an uncomfortable jolt.